I am a selftought illustrator based in Germany. I like to draw funny and cute figures and animals for childrens books or childrens related stuff. I would like to get a contract for a childrensbook or toys and games.
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Home to poetry slammers / stage poets and their stages-texts as well as novels / fictional works. What have all our authors in common? They can perform on stages what make every reading quite entertaining. When a stage-experienced actor and poetry slammer writes a dragon-novel for yound readers / listeners, then it's beatuful to read, listen and his readings are always fascinating. That way, the young dragon Fionrir, princess Quirina and their most unusual pack gained a intensely interacting fanbase. As the other stage-performers do.
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Hass verjagt Camila von zu Hause. Sie geht in die Stadt, auf der Suche nach einem Ort, an dem sie feiern kann, was sie ist: trans. Sie trifft ihresgleichen, wird Teil einer Wahlfamilie aus Prostituierten und Marginalisierten. Und gemeinsam feiern sie: die Liebe, den Rausch, im Widerstand gegen eine Gesellschaft, die sie verachtet. Lebensgeschichte, Roman, Märchen, Manifest – Im Park der prächtigen Schwestern erzählt von der Freude am Leben gegen alle Widerstände, von Zugehörigkeit, von Befreiung und der alles entscheidenden Macht der Fantasie. Tief in der argentinischen Provinz ist es gefährlich, anders zu sein. Wer sich nicht einordnet, bekommt schnell Gewalt zu spüren, zuallererst vom eigenen Vater. Bei Camila war das nicht anders und es blieb nur die Flucht, nach Córdoba in die Anonymität der Stadt. Doch Camila will kein Opfer sein, sich nicht vorschreiben lassen, wo ihr Platz in der Gesellschaft ist. Im Park Sarmiento begegnet sie eines Nachts einer Schar Gleichgesinnter, schillernde Paradiesvögel, mit denen Camila fortan alles teilt: den Schnaps, die Träume, die Freier, Drogen und Demütigungen. Sie werden zu Schwestern in einem Märchen, zu Verbündeten im scheinbar aussichtslosen Kampf um Selbstbestimmung und Lebensfreude als Transsexuelle in Lateinamerika.
Hass verjagt Camila von zu Hause. Sie geht in die Stadt, auf der Suche nach einem Ort, an dem sie feiern kann, was sie ist: trans. Sie trifft ihresgleichen, wird Teil einer Wahlfamilie aus Prostituierten und Marginalisierten. Und gemeinsam feiern sie: die Liebe, den Rausch, im Widerstand gegen eine Gesellschaft, die sie verachtet. Lebensgeschichte, Roman, Märchen, Manifest – Im Park der prächtigen Schwestern erzählt von der Freude am Leben gegen alle Widerstände, von Zugehörigkeit, von Befreiung und der alles entscheidenden Macht der Fantasie. Tief in der argentinischen Provinz ist es gefährlich, anders zu sein. Wer sich nicht einordnet, bekommt schnell Gewalt zu spüren, zuallererst vom eigenen Vater. Bei Camila war das nicht anders und es blieb nur die Flucht, nach Córdoba in die Anonymität der Stadt. Doch Camila will kein Opfer sein, sich nicht vorschreiben lassen, wo ihr Platz in der Gesellschaft ist. Im Park Sarmiento begegnet sie eines Nachts einer Schar Gleichgesinnter, schillernde Paradiesvögel, mit denen Camila fortan alles teilt: den Schnaps, die Träume, die Freier, Drogen und Demütigungen. Sie werden zu Schwestern in einem Märchen, zu Verbündeten im scheinbar aussichtslosen Kampf um Selbstbestimmung und Lebensfreude als Transsexuelle in Lateinamerika.
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This volume is the first English-language collection exclusively dedicated to the study of genre in relation to Spanish cinema. Providing a variety of critical perspectives, the collection gives the reader a thorough account of the relationship between Spanish cinema and genre, drawing on case studies of several of the most remarkable Spanish films in recent years. The book analyses the significant changes in the aesthetics, production and reception of Spanish film from 1990 onwards. It brings together European and North American scholars to establish a critical dialogue on the topics under discussion, while providing multiple perspectives on the concepts of national cinemas and genre theory. In recent years film scholarship has attempted to negotiate the tension between the nationally specific and the internationally ubiquitous, discussing how globalisation has influenced film making and surrounding cultural practice. These broader social concerns have prompted scholars to emphasise a redefinition of national cinemas beyond strict national boundaries and to pay attention to the transnational character of any national site of film production and reception. This collection provides a thorough investigation of contemporary Spanish cinema within a transnational framework, by positing cinematic genres as the meeting spaces between a variety of diverse forces that necessarily operate within but also across territorial spaces. Paying close attention to the specifics of the Spanish cinematic and social panorama, the essays investigate the transnational economic, cultural and aesthetic forces at play in shaping Spanish film genres today.
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This volume is the first English-language collection exclusively dedicated to the study of genre in relation to Spanish cinema. Providing a variety of critical perspectives, the collection gives the reader a thorough account of the relationship between Spanish cinema and genre, drawing on case studies of several of the most remarkable Spanish films in recent years. The book analyses the significant changes in the aesthetics, production and reception of Spanish film from 1990 onwards. It brings together European and North American scholars to establish a critical dialogue on the topics under discussion, while providing multiple perspectives on the concepts of national cinemas and genre theory. In recent years film scholarship has attempted to negotiate the tension between the nationally specific and the internationally ubiquitous, discussing how globalisation has influenced film making and surrounding cultural practice. These broader social concerns have prompted scholars to emphasise a redefinition of national cinemas beyond strict national boundaries and to pay attention to the transnational character of any national site of film production and reception. This collection provides a thorough investigation of contemporary Spanish cinema within a transnational framework, by positing cinematic genres as the meeting spaces between a variety of diverse forces that necessarily operate within but also across territorial spaces. Paying close attention to the specifics of the Spanish cinematic and social panorama, the essays investigate the transnational economic, cultural and aesthetic forces at play in shaping Spanish film genres today.
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The farm ruminant industry which is at the core of livestock agriculture in Europe and the rest of the world, suffers major economic loss every year due to reproductive dysgenesis. Protozoal diseases cause abortion in ruminants and therefore its diagnosis is vital in improving the health and welfare of farm livestock. This book is a collective effort from international scientists involved in an EU COST Action. Carefully selected methodologies, presented in a simple and practical form, means laboratories can carry their research out with precision..
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Giardia and Cryptosporidium are both parasites of considerable global interest due to the gastrointestinal problems the organisms can cause in humans as well as domestic and wild animals. This book presents a comprehensive overview of recent research. Chapters discuss topics from taxonomy, nomenclature and evolution to molecular epidemiology, advances in diagnostics and zoonotic, human and animal health issues.
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Aus dem Englischen von Kirsten Reimers
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Contemporary French cinema is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike.
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Contemporary French cinema is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike.
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The French Revolution was a period of radical social and political upheaval in France that had a lasting impact on French history and more broadly throughout Europe.
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The French empire at war draws on original research in France and Britain to investigate the history of the divided French empire - the Vichy and the Free French empires - during the Second World War. What emerges is a fascinating story. While it is clear that both the Vichy and Free French colonial authorities were only rarely masters of their own destiny during the war, preservation of limited imperial control served them both in different ways. The Vichy government exploited the empire in an effort to withstand German-Italian pressure for concessions in metropolitan France and it was key to its claim to be more than the mouthpiece of a defeated nation. For Free France too, the empire acquired a political and symbolic importance which far outweighed its material significance to the Gaullist war effort. As the war progressed, the Vichy empire lost ground to that of the Free French, something which has often been attributed to the attraction of the Gaullist mystique and the spirit of resistance in the colonies. In this radical new interpretation, Thomas argues that it was neither of these. The course of the war itself, and the initiatives of the major combatant powers, played the greatest part in the rise of the Gaullist empire and the demise of Vichy colonial control.
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By considering the distinctiveness of the inter-war years as a discrete period of colonial change, this book addresses several larger issues, such as tracing the origins of decolonization in the rise of colonial nationalism, and a re-assessment of the impact of inter-war colonial rebellions in Africa, Syria and Indochina. The book also connects French theories of colonial governance to the lived experience of colonial rule in a period scarred by war and economic dislocation.
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This book re-examines French cinema of the 1970s. It focuses on the debates which shook French cinema, and the calls for film-makers to rethink their manner of filming, subject matter and ideals in the immediate aftermath of the student revolution of May 1968. Alison Smith examines the effect of this re-thinking across the spectrum of French production, the rise of new genres and re-formulation of older ones. Chapters investigate political thrillers, historical films, new naturalism and Utopian fantasies, dealing with a wide variety of films. A particular concern is the extent to which film-makers' ideas and intentions are contained in or contradicted by their finished work, and the gradual change in these ideas over the decade. The final chapter is a detailed study of two directors who were deeply involved in the debates and events of the 70s, William Klein and Alain Tanner, here taken as exemplary spokesmen for those changing debates as their echoes reached the cinema.
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Mit diesem Band, der im Zusammenhang mit einer von der Werner-Reimers-Stiftung geförderten internationalen und interdisziplinären Konferenz entstanden ist, soll versucht werden, Max Webers Sicht des antiken Christentums auf dem Hintergrund neuerer theoretischer und historischer Erkenntnisse einzuordnen und zu bewerten. Der Band zeugt von der andauernden Bedeutung, die Webers Sachforschungen haben, und sucht zugleich einen Anstoß zu geben, Webers Ansatz einer entwicklungsgeschichtlichen und vergleichend ausgerichteten Religionssoziologie als Kultursoziologie wieder aufzunehmen und weiterzuführen. Damit wird ein Unternehmen fortgesetzt, das mit den Bänden »Max Webers Studie über das antike Judentum« (stw 340), »Max Webers Studie über Konfuzianismus und Taoismus« (stw 402) und »Max Webers Studie über Hinduismus und Buddhismus« (stw 473) begonnen wurde.
